Progressive rock

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For the unrelated Swedish music movement, see progg.

Progressive rock (sometimes shortened to prog, prog rock, or progrock) is a subgenre of rock music which arose in the late 1960s, reached the peak of its popularity in the 1970s, and as continued as a form of popular music to this day.

Progressive rock acts often combine elements of jazz and classical music, folk and world music influences with rock formats, often rejecting specific genre norms, and instead utilising relatively uncommon musical structures and time signatures.

Seminal acts associated with the genre during the 1970s include Jethro Tull, Yes, Genesis, Pink Floyd, Emerson, Lake & Palmer, Rush, Gentle Giant, Van der Graaf Generator, and King Crimson.

The characteristics of progressive rock can be difficult to define, for example the above mentioned bands bear little resemblance to one another in their respective sounds and fan bases. As such, progressive rock can be seen as an approach to songwriting as well as a genre of its own. Outspoken King Crimson leader Robert Fripp has voiced his disdain for the term. Indeed, in some cases the bands themselves or well-known critics would question whether one or another of the above bands fit the term “progressive rock” as it is now defined by the music industry and by many fans. There is also debate on whether artists and bands as varied as The Moody Blues, Frank Zappa, Phish, Tool and The Flaming Lips belong to the genre.

Related, occasionally overlapping genres to progessive rock in 1970s were jazz fusion, especially its subgenre called jazz-rock (eg. Return to Forever, The Mahavishnu Orchestra), and loosely defined "new age music" (eg. Mike Oldfield, Vangelis).

[edit] Characteristics of progressive rock

King Crimson's In the Court of the Crimson King, released in October of 1969, is often cited as the first progressive rock work. It contained many of the elements that would mark the genre in the years to come: lengthy, intricate songs; irregular time signatures, unconventional use of instruments; and album covers inspired by fantasy or art.

In general, prog rock often cultivates the 'unusual', and widely disregards conventions common in the related genre rock. There is, however, probably no single element shared by all music that is considered to define progressive rock. Still, there are certainly noticeable trends; these common, though not universal, features are:

[edit] The most typical characteristics

• Long compositions, sometimes running over 20 minutes, with intricate melodies and harmonies. Terms such as "epic" and "sprawling" are sometimes used to describe the scope of these pieces, which are perhaps the genre's clearest nod to classical music. A very early example (perhaps the first multi-part suite to appear in prog rock) is "In Held Twas In I" by Procol Harum, clocking in at 17:30. Classic examples include Genesis' 23-minute "Supper's Ready" and Jethro Tull's 44-minute (two album sides) "Thick as a Brick."
• Complex song structures. Prog-rock songs are often structurally complex. While some well known prog albums feature songs with quite simple structures (eg. Dark Side of The Moon by Pink Floyd), many bands wrote intentionally complicated compositions. Of course, long compositions, such as "Karn Evil 9" by Emerson, Lake and Palmer tend to be more complicated than short ones but also many short prog-rock songs abandon traditional structural patterns that are used in most of popular music.
• Use of instruments unusual in rock music, including electronic instrumentation, as well as unusual vocal styles. One acoustic example is the extensive use of the flute by Jethro Tull frontman Ian Anderson. Keyboard instruments including the synthesizer, organ, piano, and Mellotron are very common in progressive rock and were often tweaked or modified to sound even less recognizable. Non-western or non-contemporary instruments may also be featured; for instance, the sitar has been used extensively on many pieces. Gentle Giant occasionally used an amplified string instrument of their own creation known as the Shulberry. Unusual vocal styles are also a hallmark of the genre, exemplified by such singers as Peter Hammill of Van der Graaf Generator.
• Use of unusual time signatures, rhythmic techniques, scales, or tunings. Many pieces use multiple time signatures and/or tempi, sometimes concurrently (King Crimson's "Thela Hun Ginjeet", for example, contains passages in which some band members play in 7/8 and others in 4/4 to create an "off-balance" effect, better known as a "polymeter").

[edit] Other characteristics

• Many progressive rock songs (including the aforementioned "epics") are made up of shorter parts that could stand alone as songs in their own right. Yes' single "Soon," for example, is a five-minute excerpt from "The Gates of Delirium," which is over 20 minutes long. Often, these parts are explicitly called out on the track listings, much like movements in classical suites. Yes' "Close to the Edge" is divided into four parts, Rush's "2112" into seven, Pink Floyd's "Shine On You Crazy Diamond" into nine. Sometimes, parts of what is, at least in name, the same composition appear on several different albums; parts of King Crimson's "Larks' Tongues in Aspic" have, to date, appeared on three different albums in three different decades.
• Lyrics that convey intricate and sometimes impenetrable narratives, covering such themes as science fiction, fantasy, history, religion, war, madness, and literature.
• Most progressive rock bands have also avoided direct political commentary, preferring to shade their views in fictional or allegorical settings — for example, Genesis' album Selling England by the Pound is tied together by a theme of commercialism versus naturalism and several songs by Rush address libertarian and/or Randian themes. Some exceptions exist, though most postdate progressive rock's commercial heyday.
• Concept albums, in which a theme or storyline is explored throughout an entire album or series of albums, sometimes in a manner similar to a film or a play, often called "rock operas" (a term popularized by The Who, though they are not generally considered a progressive rock act). In the days of vinyl, concept albums were often two-record sets with striking gatefold sleeves. Famous examples include The Lamb Lies Down on Broadway by Genesis, and the series of albums by Pink Floyd, starting with The Dark Side of the Moon and culminating in the double album "The Wall", accompanied by a film of the same name and an elaborate live show.
• The occasional use of orchestras and choirs, either actual or simulated. The most famous examples include the title suite from Pink Floyd's Atom Heart Mother, The Nice's Five Bridges Suite and Yes' second album Time and a Word. Often, a Mellotron was used to simulate strings or a choir, and the sound of the Mellotron itself became a trademark of some types of progressive music. Less well-known bands such as Renaissance made extensive use of an actual orchestra. Recently, the use of orchestras has begun to become more common in progressive rock.
• An extremely wide dynamic range, with very quiet and very loud passages often occurring in the same piece of music. Use of compression to reduce this effect is much less common than in other forms of rock music. This is characteristic of music that is meant to be listened to relatively closely and for its own sake, as opposed to relatively casually or as background.
• Long solo passages especially for guitars and keyboards. Some prog players improvised their solos, (e.g. Keith Emerson of Emerson Lake and Palmer), while other players composed their solos in advance (e.g. Tony Banks of Genesis). Soloing contributed to the fame of such performers as guitarists David Gilmour and Steve Howe, keyboardists Rick Wakeman and Keith Emerson, and drummer Neil Peart. Also bass and drum solos appear occasionally on prog-rock recordings, though they are not prevalent as in jazz music.
• Inclusion of classical pieces on albums. For example, Emerson Lake and Palmer have performed arrangements of pieces by Copland, Bartók, Mussorgsky and others, and often feature quotes from J. S. Bach in lead breaks. Sometimes these pieces are significantly reinterpreted; Jethro Tull recorded a version of La Bourée by Bach in which they turned the piece into a "sleazy jazzy night-club song" (in Ian Anderson's own words).
• An aesthetic linking the music with visual art, a trend started by The Beatles with Sgt. Pepper's Lonely Hearts Club Band and enthusiastically embraced during the prog heyday. Some bands became as well-known for the art direction of their albums as for their sound, with the "look" integrated into the band's overall musical identity. This led to fame for particular artists and design studios, most notably Roger Dean for his work with Yes, and Storm Thorgerson and his studio Hipgnosis for their work with Pink Floyd and others. H.R. Giger's painting for Emerson, Lake and Palmer's Brain Salad Surgery is one of the most famous album sleeves ever produced, although it was censored to remove a phallus. Paul Whitehead produced evocative gatefold album covers and sleeves for Genesis and Van der Graaf Generator.
• The use of sound effects in compositions, otherwise known as Musique concrète. This is a particular trademark of Pink Floyd; see, for example, "Speak to Me," the opening track from The Dark Side of the Moon (musique concrète techniques are used further in the album, like the introductory passages of "Time" and "Money"). The sounds of warfare can be heard throughout Jethro Tull's single "Warchild," and The Mars Volta make heavy use of ambient noise on their album Frances the Mute.

[edit] History of progressive rock

[edit] Precursors

Progressive rock was born from a variety of musical influences in the late 1960s. The later Beatles and many psychedelic bands began to combine traditional rock music with instruments from classical and Eastern music. An important precursor, Beck's Bolero, composed by then-Yardbirds Jeff Beck and Jimmy Page in 1966, is a brief reworking of Maurice Ravel's "Boléro". Psychedelic rock continued this experimental trend and began to compose very long pieces, although usually without any carefully thought-out structure (for example, Iron Butterfly's "In-A-Gadda-Da-Vida" or "1983...(A Merman Should I Turn to Be)" by Jimi Hendrix).

Bands such as The Nice and the Moody Blues began deliberately combining rock music with classical music, producing longer pieces with deliberate structures. German electronic music pioneers Tangerine Dream introduced a variety of synthesisers, tape effects, and other unusual sounds in their compositions, usually in purely instrumental albums. By the mid- to late-'60s, The Who had also created concept albums and rock operas, as well as long live rock song performances — although those were often in the more blues-based improvisational style also featured by contemporaries Cream and Led Zeppelin.

All of these bands are sometimes considered "early progressive," or as part of a transitional genre between psychedelic and progressive, sometimes referred to as proto-prog.

[edit] First progressive rock acts

Key early progressive rock bands included The Nice and Soft Machine and the roots of the genre can be traced back to the mid-sixties. However, King Crimson's appearance in February 1969 is often seen as a pivotal moment. King Crimson were quickly followed by other English progressive rock bands, including Yes, Genesis, Pink Floyd, Emerson Lake and Palmer (ELP), and Jethro Tull. It is worth noting that, aside from ELP, these bands began their careers before King Crimson, and changed their musical styles considerably following the release of In the Court of the Crimson King, although Genesis' first albums pop-ish sound was most likely to impress Jonathan King, Genesis' first producer. Also, Pink Floyd's change in sound was probably due to the loss of Syd Barrett, their main song writer from 1965-1967. As for ELP, they inherited their singer and guitarist, Greg Lake, from the original King Crimson lineup.

Progressive rock also gained momentum when many rock fans grew disillusioned with the "Peace and Love" movement. Progressive rock often distanced itself from the "smiles and sunshine" of 1960s pop music and moved towards darker and sometimes more violent themes. For example, Genesis' Trespass includes "The Knife", a song about a violent demagogue, and "Stagnation", a song about a survivor of a nuclear attack. Genesis labelmates, Van der Graaf Generator, often took an existentialist approach that bordered on nihilism, even in album titles, such as Godbluff.

Progressive rock was especially popular in continental Europe and some parts of Latin America. Indeed, progressive rock enjoyed a captivating popularity in countries such as Italy and France. This era saw a great number of European progressive rock bands, most notably Premiata Forneria Marconi (PFM), Area and the aforementioned Banco del Mutuo Soccorso and Le Orme from Italy, and Ange and Magma from France. Of these bands, only PFM was significantly successful in the English-speaking world. Germany also had a significant progressive movement, often referred to as Krautrock. The Italian progressive rock has been considered somehow a case of its own (sometimes cited as a separated genre, as "Italian symphonic rock"): although most of the bands scored appalling success even in their home country^{[citation needed]} (often releasing only one LP), today CDs of otherwise unknown groups like Museo Rosenbach, Osanna, Il Balletto di Bronzo, Semiramis etc., along with the more renowned ones, are increasingly sought by fans as true classics of the genre, and also attracting the interests of higher musical critics and universities. In Brazil, Os Mutantes combined elements of traditional Brazilian music, psychedelic rock and experimental sounds to create intricate yet unorthodox arrangements, with imagery and lyrics inspired by fantasy, literature and history.

A strong element of avant-garde and counter-culture has long been associated with a great deal of progressive rock. In the 70's, Chris Cutler of Henry Cow helped to form a loose collective of artists referred to as Rock in Opposition or RIO, whose purpose was essentially to make a statement against the music industry. The original members included such diverse groups as Henry Cow, Samla Mammas Manna, Univers Zero, Etron Fou Leloublan, Stormy Six, and later Art Zoyd, Art Bears, and Aqsak Maboul. The Rock in Opposition movement was short-lived, but the artists came to be recognized as some of the originators of Avant-progressive rock. Dark melodies, angular progressions, dissonance, free-form playing, and a disregard for conventional structure are all elements that have been used to describe these artists.

[edit] Rise and fall

Fans and music historians have a variety of ways to categorize the flavors of 1970s progressive rock. The Canterbury scene can be considered a sub-genre of progressive rock, more oriented towards Jazz rock, or simply another collection of true progressive rock bands. Other bands took the genre in a more commercial direction. These bands, including Renaissance, Queen and Electric Light Orchestra, are sometimes classified as "progressive rock", "commercial rock", or "symphonic pop." Over time, Led Zeppelin and Supertramp, among others, also incorporated more unusual instrumental elements, odd time signatures, and long compositions into their work. In a similar "prog pop" vein was Manfred Mann's Earth Band, which featured virtuoso Minimoog solos by Mann. The group was regarded as a first-rate prog rock act, considering Manfred Mann's more well-known 1960's pop heritage ^{[citation needed]}.

Progressive rock's popularity peaked in the mid-1970s, when prog artists regularly topped readers' votes in mainstream popular music magazines in England and America. By this time, several New World progressive rock bands had been formed. Kansas, which had actually existed in one form or another since 1971, became one of the most commercially successful of all progressive rock bands. Toronto's Rush were equally successful, with a string of hit albums extending from the mid-1970s to the present. Less commercially successful, but at least as influential as either band, were the Dixie Dregs, from Georgia (arguably more of a fusion band).

Yes performing in 1977.

With the advent of punk rock in the late 1970s, critical opinion in England moved toward a simpler and more aggressive style of rock, with progressive bands increasingly dismissed as pretentious and overblown, ending progressive rock's reign as one of the leading styles in rock.^[1][2] This development is often seen as part of wider commercial turn in popular music in second half of the 1970s^{[citation needed]} during which many funk or soul bands switched to disco and smooth jazz gained popularity over jazz fusion. However, established progressive bands still had a large following, with Rush, Genesis, Yes and Pink Floyd all regularly scoring Top Ten albums with massive accompanying tours, for some of these bands, their largest yet. By 1979, by which time it is generally agreed punk had mutated into New Wave, Pink Floyd released The Wall, one of the best selling albums in history. Many bands which emerged in the aftermath of punk, such as Siouxsie and The Banshees, Cabaret Voltaire, Ultravox, Simple Minds and Wire all displayed prog, as well as their more usually recognised punk, influences.^[3]

[edit] 1980s revival

Main article: Neo-progressive rock

The early 1980s saw something of a revival of the genre, led by artists such as Marillion, IQ, Twelfth Night, Pendragon, Galahad, Pallas, and Saga. Groups that arose during this time are sometimes termed neo-progressive or neo-prog (also referred to as the New Wave Of British Prog Rock). Bands of this style were influenced by '70s progressive rock groups like Genesis, Yes, and Camel, but incorporated some elements that were reflective of the New Wave and other rock elements found in the 80s. The digital synthesiser became a prominent instrument in the style. Neo-prog continued to remain viable into the '90s and beyond with bands like Arena, Jadis, Collage, and Iluvatar. Their sound was generally similar in style and sound to neo-prog pioneers like Marillion and IQ, which differentiated them from the emerging Third Wave movement in the 1990s.

Some progressive rock stalwarts changed musical direction, simplifying their music and making it more commercially viable. In 1982, the much anticipated supergroup Asia, composed of Steve Howe (Yes), Carl Palmer (ELP), John Wetton (King Crimson), and Geoff Downes (Buggles/Yes), surprised (and disappointed) progressive rock fans with their pop-oriented debut album. Top 5 single "Heat of the Moment" rotated heavily on MTV for years, while the first Asia album established a sales record for 1982. This demonstrated a market for more commercialized British progressive rock -- a style very similar to that played by North American Top-40 stalwarts such as Styx and Journey.

Other British bands followed Asia's lucrative example. In 1983, Genesis achieved some international success with "Mama", a song with heavy emphasis on a drum machine riff, signaling the band's change to a very commercial direction during the 1980s. In 1984, Yes had a surprise comeback with 90125, featuring their only number one (US) single, "Owner of a Lonely Heart." Written by guitarist Trevor Rabin prior to joining the group, "Owner" was accessible enough to be played at discos, and more recently has been remixed into a trance single. Often sampled by hip-hop artists, "Owner" also incorporated contemporary electronic effects, courtesy of producer (and former member) Trevor Horn. Likewise, Pink Floyd's A Momentary Lapse of Reason in 1987 was a departure from their traditional extended play concept albums, featuring much shorter songs and an altogether more electronic sound.

Many progressive rock fans were unhappy with the direction taken by these bands, but others simply accepted the changes and enjoyed the music. Yes, for instance, enjoyed a brief renaissance during the 1980s with a mixture of old and new fans. Other progressive rock bands like Rush arguably released some of their best material during the early and mid-1980s thanks to a merging of new wave and early progressive sounds.

Some bands that began as mainly new wave or punk acts developed leanings toward progressive rock during this time. The most notable example was probably The Police, who took criticism from some hardline reggae and ska fans for turning too "artsy." Their final studio recording as a group would be a prog-style concept album (helmed by Genesis producer Hugh Padgham) titled Synchronicity.

[edit] Third wave and Progressive Metal

Main article: Progressive metal

The progressive rock genre enjoyed another revival in the 1990s. A notable kickoff to this revival were a trio of Swedish bands: Änglagård, Anekdoten, and Landberk, who hit the scene in 1992-1993. Later came the so-called "Third Wave", spearheaded by such bands as Scandinavia's The Flower Kings and White Willow, the UK's Porcupine Tree, Italy's Finisterre and Deus Ex Machina, and Spock's Beard, Echolyn and Glass Hammer from the United States. Arjen Anthony Lucassen, with the backing of an array of talent from the progressive rock genre, produced a series of innovative concept albums. While not necessarily sounding alike, many of the Third Wave bands had very strong ties musically to the 1970s progressive rock acts, often to the point of sounding "retro."

One of the most commercially successful bands of the alternative rock movement, The Smashing Pumpkins, incorporated progressive rock elements into their unique, eclectic style, with many 8 and 9-minute songs, and going so far as to release two concept albums (based on the same concept). Seattle's Soundgarden were unique in that they helped bridge the gap between progressive rock and the grunge movement, with their occasionally extended songs, odd time-signatures, and technically-challenging distorted rock. Jane's Addiction's 1990 album Ritual De Lo Habitual held similar attraction to fans of complex rock, highlighted by two back-to-back, ten minute, multi-part tracks revolving around a single storyline. The band Phish would often be mentioned as technically qualifying for the label of progressive rock due to the incorporation of characteristic elements of prog, mostly in their long "jam songs" with many varied sections and abrupt changes.

In recent years, one of the more commercially viable categories of prog has been progressive metal, which mixes some of the common elements associated with progressive rock (lengthy compositions, concept albums, odd time signatures, virtuosity) with the power and attitude associated with metal. One distinguishing characteristic of prog metal is the prominence of keyboard instruments in what is usually a very guitar-dominated style of music. Several of the leading bands in the prog-metal genre -- Dream Theater (U.S.), Ayreon (Netherlands), Kraken (Colombia), Opeth (Sweden), Fates Warning (U.S.) and Queensrÿche (U.S.)-- cite pioneer progressive hard-rockers Rush as a primary influence, although their music exhibits influences from more traditional metal bands such as Black Sabbath or Deep Purple as well. Tool have cited pioneers King Crimson as an influence on their work. King Crimson opened for Tool on their 2002 tour, and expressed admiration for the group while continuing to deny the "prog" label [1].

Meanwhile, other heavy metal bands not generally considered prog-metal, such as System of a Down, have nevertheless incorporated prog-influenced elements like bizarre shifts in time signatures and tempo into their music. In recent years, a number of heavily classical-influenced symphonic and goth metal bands have emerged in Europe; most notable of these is probably Finland's Nightwish. Though these groups generally do not think of themselves as progressive metal bands, fans of the genre often consider them to be so, and several could lay claim at least as many of the "characteristics of Progressive Rock" listed above as can bands like Dream Theater.

It should be noted that while the term "progressive" was originally coined in the 1970s to emphasize the newness of the musical direction being taken by certain bands, by the 1980s the term had mostly just become the name of a musical style. As a result, bands like King Crimson which continued to explore new directions were not always considered "progressive" (presumably much to Robert Fripp's relief), while, paradoxically, some newer self-described "progressive" bands purchased vintage mellotrons to recreate the sound of early 1970s groups. Fans and critics alike have established "progressive rock" as the permanent name of the '70s style, and so the usual meaning of "progressive" has to a large degree become irrelevant.

[edit] Influences

The work of contemporary artists such as Ween, post-rock bands like Sigur Rós and Godspeed You! Black Emperor, and alternative or new prog groups like Radiohead and Muse could be said to incorporate some of the elements of progressive rock, sometimes combined with the aesthetic sensibilities of punk rock. The cult English band Cardiacs has specialised since 1980 in a kind of progressive punk sound which has influenced a slew of other bands who are occasionally described (with tongue-in-cheek) as pronk acts. Among the more experimental and avant garde musicians, the Japanese composer Takashi Yoshimatsu publicly cites progressive rock bands as a prime influence on his work, while Chicago's indie-rock band The Fiery Furnaces could also be considered progressive, blending electronic and orchestrated bits into their craft, while also expanding on The Who's rock-opera ethos. The math rock genre that arose in the 1990s also has many elements familiar to progressive rock fans.

There are a number of contemporary prog bands, such as Mostly Autumn, that combine Celtic, and sometimes pagan, influences with earlier prog rock styles. Other bands of note incorporating progressive rock into their sound include The Mars Volta, Umphrey's McGee, Porcupine Tree, dredg, The Dillinger Escape Plan, Kayo Dot, Opeth, Circa Survive, Gatsbys American Dream, .moneen. and Coheed and Cambria.

[edit] Progressive Rock Festivals

Renewed interest in progressive rock in the 1990s eventually led to the beginnings of musical events and festivals that centered around progressive rock acts. The first ProgFest was held on May 29, 1993, in UCLA's Royce Hall and featured Sweden's Änglagård, England's IQ, Quill, and Citadel. Interest in the festival was large enough for others in the U.S.A. to start similar events. ProgDay, held at Storybook Farm near Chapel Hill, North Carolina, first emerged during Labor Day weekend in 1995 and is planning its 12th festival in 2006.

The most successful of these festivals to date is NEARfest, which held its first event on June 26th & 27th, 1999 in Bethlehem, PA to approximately 400 fans. With a diverse lineup and an ability to get big name talent, the festival eventually grew in popularity to fill a 1,000 seat venue, and later relocated to Trenton, NJ in 2002 to a venue which seated over 1,850. The festival relocated back to Bethlehem, PA in 2004 and is still active.

Other current festivals of note include Rosfest in Phoenixville, PA, Baja Prog in Mexicali, Mexico, CalProg in Whittier, CA, Prog In The Park in Rochester, NY, Gouveia Art Rock in Portugal, Prog Sud in Marseille (France), Tiana in Barcelona (Spain), Progfarm in Holland and Rio Art Rock Festival in Rio de Janeiro, Brazil.

[edit] See also

• Timeline of progressive rock
• List of musical works in unusual time signatures (not limited to prog rock)
• List of popular songs based on classical music
• List of progressive rock musicians

[edit] Related genres and sub-genres

• Avant-progressive rock
• The Canterbury Scene
• Italian symphonic rock
• Krautrock
• Neo-prog
• New Prog
• Progressive metal
• Psychedelic rock
• Rock in Opposition (RIO)
• Symphonic rock

[edit] External links

• Prog Archives
• Gibraltar Encyclopedia of Progressive Rock
• Strawberry Bricks - Timeline of Progressive Rock
• Dutch Progressive Rock Page
• MusicMoz Directory - Progressive Rock
• Italian Progressive Rock

[edit] Reviews

• Gnosis A listing of nearly 60,000 progressive, experimental, jazz, and avant-garde musics.
• Ground and Sky A review website focusing on progressive and avant-garde rock.
• ProGGnosis-Progressive Rock & Fusion A review website for progressive rock and fusion works.
• Progressive Ears A stimulating forum-based progressive rock website, with user-contributed reviews and a wealth of resources.
• Progressiveworld.net A review and news site for progressive rock and progressive metal.
• Progweed Reviews, plus a few articles and interviews.
• Ytsejam News, reviews and interviews.

[edit] References and notes

[edit] Further reading

• Lucky, Jerry. The Progressive Rock Files Burlington, Ontario: Collector's Guide Publishing, Inc (1998), 304 pages, ISBN 1-896522-10-6 (paperback). Gives an overview of progressive rock's history as well as histories of the major and underground bands in the genre.
• Macan, Edward. Rocking the Classics: English Progressive Rock and the Counterculture. Oxford: Oxford University Press (1997), 290 pages, ISBN 00195098870(hardcover), ISBN 00195098889(paperback). Analyzes progressive rock using classical musicology and also sociology.
• Martin, Bill. Listening to the Future: The Time of Progressive Rock. Peru, Ill.: Carus Publishing Company (1998), 356 pages, ISBN 0-8126-9368-X (paperback). An enthusiastic analysis of progressive rock, intermixed with the author's Marxist political views.
• Stump, Paul. The Music's All That Matters: A History of Progressive Rock. London: Quartet Books Limited (1997), 384 pages, ISBN 0-7043-8036-6 (paperback). Smart telling of the history of progressive rock focusing on English bands with some discussion of American and European groups. Takes you from the beginning to the early 1990s.